Antenarratives are the building blocks of stories and exist before a story’s characters, setting, actions, plots or morals can be shared with a clear beginning, middle and end. Antenarratives are also what provide the potential for those elements to be combined into something recognized as a story. The posters produced by the International Olympic Committee commemorating the Olympic Games are an example of visual antenarratives. Scholars in a variety of disciplines have called for greater attention paid to organizational images and improved methodologies for analysing visual data. This essay reviews the development of antenarrative theory, applies that theory to specific artefacts, and invites scholars and teachers to deconstruct them as part of research or classroom instruction.
{"title":"Becoming strategic spectators of organizational images: Olympic posters as antenarratives","authors":"J. Birdsell","doi":"10.1386/vi_00068_1","DOIUrl":"https://doi.org/10.1386/vi_00068_1","url":null,"abstract":"Antenarratives are the building blocks of stories and exist before a story’s characters, setting, actions, plots or morals can be shared with a clear beginning, middle and end. Antenarratives are also what provide the potential for those elements to be combined into something recognized as a story. The posters produced by the International Olympic Committee commemorating the Olympic Games are an example of visual antenarratives. Scholars in a variety of disciplines have called for greater attention paid to organizational images and improved methodologies for analysing visual data. This essay reviews the development of antenarrative theory, applies that theory to specific artefacts, and invites scholars and teachers to deconstruct them as part of research or classroom instruction.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"399 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77124098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1972, worldwide political unrest caused major national division among nations. With the Olympics on the horizon, the games committee had made it their mission to use this event to promote worldwide unity and peace. 1972 marked the first time Germany had hosted the Olympic Games since the Second World War, which put Germany in the unique position to use this event to express a new more peaceful identity. One way that the Olympic committee decided to promote their new vision of Germany was through a heavy narrative between sports and art. They pursued this goal by commissioning several notable artists to complete works for this particular year, most notably Josef Albers and Jacob Lawrence. This year allowed for a new age of Olympic art as the Olympic committee intentionally sought out relevant artists to help design the promotional art for the games. This essay discusses how Germany strategically choose these specific artists to share how the Olympics were moving from traditional advertising to fine art, and how they used these artworks as propaganda to better shape the perception of Germany.
{"title":"The 1972 Olympic Games: Utilizing posters for positive propaganda","authors":"Lauren Bothe","doi":"10.1386/vi_00067_1","DOIUrl":"https://doi.org/10.1386/vi_00067_1","url":null,"abstract":"In 1972, worldwide political unrest caused major national division among nations. With the Olympics on the horizon, the games committee had made it their mission to use this event to promote worldwide unity and peace. 1972 marked the first time Germany had hosted the Olympic Games since the Second World War, which put Germany in the unique position to use this event to express a new more peaceful identity. One way that the Olympic committee decided to promote their new vision of Germany was through a heavy narrative between sports and art. They pursued this goal by commissioning several notable artists to complete works for this particular year, most notably Josef Albers and Jacob Lawrence. This year allowed for a new age of Olympic art as the Olympic committee intentionally sought out relevant artists to help design the promotional art for the games. This essay discusses how Germany strategically choose these specific artists to share how the Olympics were moving from traditional advertising to fine art, and how they used these artworks as propaganda to better shape the perception of Germany.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"110 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79240298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This reflection explores the connection between art and the lived experience offering insight into the topic of phenomenology and visual culture through the work ‘Flow Line’ by Daijiro Ohara. Popular posters like this one, designed for the Tokyo 2020 Olympic and Paralympic Games can support learning in foundational art history courses. The poster design by Ohara is explored visually through formal analysis and thematically to highlight the way in which interpretation of the poster can be constructed using an important postmodern methodology.
{"title":"Reflection: Ohara’s ‘Flow Line’","authors":"Sarah Ruthven","doi":"10.1386/vi_00070_1","DOIUrl":"https://doi.org/10.1386/vi_00070_1","url":null,"abstract":"This reflection explores the connection between art and the lived experience offering insight into the topic of phenomenology and visual culture through the work ‘Flow Line’ by Daijiro Ohara. Popular posters like this one, designed for the Tokyo 2020 Olympic and Paralympic Games can support learning in foundational art history courses. The poster design by Ohara is explored visually through formal analysis and thematically to highlight the way in which interpretation of the poster can be constructed using an important postmodern methodology.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"109 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91108717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As students are establishing themselves in an increasingly visual culture, images should be harnessed as important pedagogical tools for applying concepts and increasing student engagement. When students are given opportunities to analyse images in the classroom context, they become more aware of the variety of visual texts, from advertisements to websites, that frequently command their attention. This single-class activity employs visual texts as a site of inquiry for critique and application of persuasive strategies in an undergraduate level classroom. It is designed to help students explore applications of the concepts of image-based advertising and syntactic indeterminacy through a critical analysis of art posters from the Tokyo 2020 Olympic Games. Students role-play ‘becoming the judge’ on the International Olympic Committee as they seek to select and provide rationale for the poster that best communicates the ideals of the Olympic Games.
{"title":"You be the judge: Teaching image-based advertising through a persuasive analysis of Olympic posters","authors":"Lisa J. Raser","doi":"10.1386/vi_00069_1","DOIUrl":"https://doi.org/10.1386/vi_00069_1","url":null,"abstract":"As students are establishing themselves in an increasingly visual culture, images should be harnessed as important pedagogical tools for applying concepts and increasing student engagement. When students are given opportunities to analyse images in the classroom context, they become more aware of the variety of visual texts, from advertisements to websites, that frequently command their attention. This single-class activity employs visual texts as a site of inquiry for critique and application of persuasive strategies in an undergraduate level classroom. It is designed to help students explore applications of the concepts of image-based advertising and syntactic indeterminacy through a critical analysis of art posters from the Tokyo 2020 Olympic Games. Students role-play ‘becoming the judge’ on the International Olympic Committee as they seek to select and provide rationale for the poster that best communicates the ideals of the Olympic Games.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82979802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Olympic art has been just as central to the modern games as sport itself. Originally intended to be a competition, art in the Olympics has shifted purposes through the years and eventually became a tool for interpretation, celebration and communication about the sport and the unique cultural contexts in which they are held. A number of modern and contemporary notables have contributed artwork in the twentieth century and one of the most notable examples was modern artist Robert Rauschenberg’s (1925–2008) poster for the 1984 Olympics held in Los Angeles, CA, entitled ‘Star in Motion’.
{"title":"A short reflection on Olympic art","authors":"G. J. Daichendt","doi":"10.1386/vi_00071_1","DOIUrl":"https://doi.org/10.1386/vi_00071_1","url":null,"abstract":"Olympic art has been just as central to the modern games as sport itself. Originally intended to be a competition, art in the Olympics has shifted purposes through the years and eventually became a tool for interpretation, celebration and communication about the sport and the unique cultural contexts in which they are held. A number of modern and contemporary notables have contributed artwork in the twentieth century and one of the most notable examples was modern artist Robert Rauschenberg’s (1925–2008) poster for the 1984 Olympics held in Los Angeles, CA, entitled ‘Star in Motion’.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89927163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that a logic model is an effective analytical tool to examine the opening ceremony of the Los Angeles 1984 Olympics as an exercise in soft power. Specifically, it uses a logic model as a guide to emphasize how the Los Angeles 1984 Olympics provided a structure to share values and culture with the intention to influence. Although this is not an evaluative inquiry, the evaluative framework lends itself to identifying the resources required for the creation of the opening ceremony and the formal presentation. For instance, a review of interurban competition (competition between cities or regions that attract economic activities), management and boycotts as inputs of the Los Angeles Games reveal the presentation of American culture and values during the Olympic opening ceremony. The purpose of this article is to implement a logic model as means for understanding the cultural programming of the Olympics by first identifying the unique inputs for the Los Angeles 1984 Olympics and analysing the visual presentation of the opening ceremony.
{"title":"The Los Angeles 1984 Olympics: Using a logic model as a tool to understand soft power","authors":"Tiffany E. Bourgeois","doi":"10.1386/vi_00082_1","DOIUrl":"https://doi.org/10.1386/vi_00082_1","url":null,"abstract":"This article argues that a logic model is an effective analytical tool to examine the opening ceremony of the Los Angeles 1984 Olympics as an exercise in soft power. Specifically, it uses a logic model as a guide to emphasize how the Los Angeles 1984 Olympics provided a structure to share values and culture with the intention to influence. Although this is not an evaluative inquiry, the evaluative framework lends itself to identifying the resources required for the creation of the opening ceremony and the formal presentation. For instance, a review of interurban competition (competition between cities or regions that attract economic activities), management and boycotts as inputs of the Los Angeles Games reveal the presentation of American culture and values during the Olympic opening ceremony. The purpose of this article is to implement a logic model as means for understanding the cultural programming of the Olympics by first identifying the unique inputs for the Los Angeles 1984 Olympics and analysing the visual presentation of the opening ceremony.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76714135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The visual aesthetic of the Olympic Games fuses time and space into the commodification of sport and culture. Rarely does poster art function beyond commodity and advertising. Spanning over a hundred years, the Olympics has adopted the poster as an artefact of the games, documenting the event’s spirit in concert with the essence of the host city. The union of time and space functioning under one aesthetic device, the poster, brings forth Mikhail Bakhtin’s revolutionary theory of the chronotope that the Russian philosopher and critic exposed in language and literature. This article will look at the poster not as evidence of the commodification of sport but as a dialogic medium of time and space. By investigating the nuance of typography and visual aesthetics of Olympic poster art concerning the chronotope, the poster elevates beyond advertising tool performing as a form of artistic dialogue within the culture. This novel interpretation of the Olympic poster as a dialogic exponent of the chronotope will reimagine Olympic art as temporally communitive. Specific poster examples will compose a conversation that reflects a nexus of time and space. Revolving around the intertextual temporality of Bakhtin’s chronotope, the Olympic poster comes to life.
{"title":"Time, space and art: The Olympic poster and the chronotope","authors":"Marvin R. Milián","doi":"10.1386/vi_00066_1","DOIUrl":"https://doi.org/10.1386/vi_00066_1","url":null,"abstract":"The visual aesthetic of the Olympic Games fuses time and space into the commodification of sport and culture. Rarely does poster art function beyond commodity and advertising. Spanning over a hundred years, the Olympics has adopted the poster as an artefact of the games, documenting the event’s spirit in concert with the essence of the host city. The union of time and space functioning under one aesthetic device, the poster, brings forth Mikhail Bakhtin’s revolutionary theory of the chronotope that the Russian philosopher and critic exposed in language and literature. This article will look at the poster not as evidence of the commodification of sport but as a dialogic medium of time and space. By investigating the nuance of typography and visual aesthetics of Olympic poster art concerning the chronotope, the poster elevates beyond advertising tool performing as a form of artistic dialogue within the culture. This novel interpretation of the Olympic poster as a dialogic exponent of the chronotope will reimagine Olympic art as temporally communitive. Specific poster examples will compose a conversation that reflects a nexus of time and space. Revolving around the intertextual temporality of Bakhtin’s chronotope, the Olympic poster comes to life.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78588768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Representation is a tool that facilitates the transfer of an idea. Architectural representations not only help differentiate the thoughts that the designer has in his mind, but also create a space where he can simplify what he has in mind when uploading it. This article makes a study on developing visual perception ability by including architecture students in the education process. Representation has become a necessary tool, especially in conveying thoughts. In this study, representation was analysed by architecture students through the five structures designed by Louis Kahn, one of the famous architects of the twentieth century. Students were asked to discover the remarkable features of buildings and produced 15 × 15 cm2 architectural representations. As a result, the student’s perception of these buildings increased significantly and provided lesson hours to be more productive while creating architectural representations.
{"title":"Increasing visual perception in architecture education: An architectural representation study","authors":"Aslan Nayeb, Izzettin Kutlu","doi":"10.1386/vi_00058_1","DOIUrl":"https://doi.org/10.1386/vi_00058_1","url":null,"abstract":"Representation is a tool that facilitates the transfer of an idea. Architectural representations not only help differentiate the thoughts that the designer has in his mind, but also create a space where he can simplify what he has in mind when uploading it. This article makes a study\u0000 on developing visual perception ability by including architecture students in the education process. Representation has become a necessary tool, especially in conveying thoughts. In this study, representation was analysed by architecture students through the five structures designed by Louis\u0000 Kahn, one of the famous architects of the twentieth century. Students were asked to discover the remarkable features of buildings and produced 15 × 15 cm2 architectural representations. As a result, the student’s perception of these buildings increased significantly\u0000 and provided lesson hours to be more productive while creating architectural representations.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"36 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88865359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Landscape architecture has been transformed in recent decades by technological applications which have displaced a long-established tradition of manual graphic expression. Although advantageous for private enterprise, this development has not been entirely salutary in academia, as the discarding of manual graphics also eliminated an invaluable medium of teaching design thinking, creative exploration and ideological values. This article summarizes the results of an experimental course on advanced hand graphics taught within a technology-dominated landscape curriculum. Intended to cultivate cognitive and analytical abilities vital for successful design practice, it was simultaneously foreseen as a template for future applications to reinforce design education’s connection to manual graphics. An overview of philosophical objectives, structure and implementation is supplemented with student feedback and work specimens, parameters which were collectively evaluated to assess course performance, success and future viability.
{"title":"Glyphs, planes and pictorial tales: Restoring hand graphics to centrality in landscape architecture education","authors":"Amitabh Verma","doi":"10.1386/vi_00060_1","DOIUrl":"https://doi.org/10.1386/vi_00060_1","url":null,"abstract":"Landscape architecture has been transformed in recent decades by technological applications which have displaced a long-established tradition of manual graphic expression. Although advantageous for private enterprise, this development has not been entirely salutary in academia, as the\u0000 discarding of manual graphics also eliminated an invaluable medium of teaching design thinking, creative exploration and ideological values. This article summarizes the results of an experimental course on advanced hand graphics taught within a technology-dominated landscape curriculum. Intended\u0000 to cultivate cognitive and analytical abilities vital for successful design practice, it was simultaneously foreseen as a template for future applications to reinforce design education’s connection to manual graphics. An overview of philosophical objectives, structure and implementation\u0000 is supplemented with student feedback and work specimens, parameters which were collectively evaluated to assess course performance, success and future viability.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"39 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81456161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：